Daily Dose Of Jazz…

Ian Armit was born on April 11, 1929 in Kirckaldy, Fife, Scotland and little is known about his youth. Surfacing on the jazz scene in 1957 he was found performing with Sandy Brown and releasing the solo EP Jazz Club Piano for Decca Records.

In 1960 Ian began a two year stint with the Humphrey Lyttelton Band and went on to record with Al Fairweather, Cy Laurie, The Wally Fawkes-Sandy Brown Quintet and Wally Fawkes and The Troglodytes. He guested a few of Chris Barber appearances for BBC Radio in 1963. The following year he led his own quintet on the BBC Radio program “Three’s Company.

Tiring of jazz he turned his direction towards blues in late 1964 he joined Alexis Korner’s Blues Incorporated, followed by Long John Baldry’s Hoochie Coochie Men and then became a member of The Steampacket. He recorded with Rod Stewart, toured with Savoy Brown and Fleetwood Mac. He remained with Baldry until 1972 when he joined Bob Wallis on a European tour.

Moving to Switzerland, Armit once again led a quartet and recorded Ian’s Boogie Woogie with the Old Rivertown jazz band in 1989. He would play with the Piccadilly Six, the Harlem Ramblers and other blues bands.

Pianist, composer and bandleader Ian Armit, who never returned to jazz, died after a short illness on February 19, 1992 in Zurich, Switzerland.

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Daily Dose Of Jazz…

Roy Assaf was born on April 10, 1982 in Beersheba, Israel and studied at Tel Aviv Conservatory. Coming to America he continued his studies at Berklee College of Music in Boston, Massachusetts and then migrated to New York City and while earning his  Master of Art at the Manhattan School of Music, he established his reputation as one of the most sought-after young pianists in the New York jazz scene.

After a meeting with legendary bassist and producer John Lee soon found Roy touring around the world and playing the most prestigious festivals, clubs, and concert halls with the Dizzy Gillespie All Stars, a band that included James Moody, Jimmy Heath, Paquito D’Rivera, Roy Hargrove, Lewis Nash, Randy Brecker, Antonio Hart, and other jazz masters.

Before long, Assaf was getting calls from some of the world’s most influential contemporary jazz bands that included the Slide Hampton Sextet, The Mingus Big Band, Steve Turre’s bands, Roberta Gambarini Quartet, David Sanborn Group, Claudio Roditi Quartet, and many others.

In 2012, he released his debut album, Respect, on Jazz Legacy Productions accompanied by bassist Reuben Rogers and drummer Greg Hutchinson. The following year he formed a trio with Raviv Markovitz on bass and Jake Goldbas on drums and together they began to establish the unique voice of the Roy Assaf Trio.

Pianist and composer Roy Asssaf, who has released two albums and has won several awards including one from ASCAP, a Eubie Blake and  two from DownBeat and others, continues to perform across the globe.

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Daily Dose Of Jazz…

Theodore Gerald Roy, born April 9, 1905 in Du Quoin, Illinois began his musical career playing cornet before switching to piano. He first played in the Coon-Sanders Original Nighthawk Orchestra, and then with Jean Goldkette and Frankie Trumbauer early in his career.

While in Boston, Massachusetts in 1933 he played with Bobby Hackett and Pee Wee Russell, then led his own band around the state in 1934. Following this, he worked in various dance bands in New York City in the late 1930s and early 1940s.

Serving in the Army from 1943 to 1945, Teddy went on to play with Max Kaminsky and the new version of the Original Dixieland Jazz Band with Eddie Edwards and Wild Bill Davison. From 1946 to 1959, he played mostly freelance in New York City and on Long Island, New York. Among those he played with were Russell, Kaminsky, Miff Mole, and Wingy Manone. He also did solo work in the 1950s.

Pianist Teddy Roy died on August 31, 1966 in New York City.

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Daily Dose Of Jazz…

Morris Acevedo was born April 8, 1966 in Texas and started playing guitar in 6th grade. During his high school years he mostly played progressive Rock and Jazz Fusion in high school. After graduating he became a music major at North Texas State University and studied Jazz Performance and Music Education but a move to Boston, Massachusetts set his course to transfer to Berklee College of Music, earning a degree in Jazz Composition and Arranging. After earning his bachelor degree, he played full time in professional bands in Boston, and studied improvisation in New York City with Lee Konitz, Richie Bierach and Jerry Bergonzi before relocating to California in the San Francisco Bay Area.

In addition to his regular jazz and fusion group performances, he became smitten with teaching guitar and improvisation he taught for years in the Bay area. He currently holds the position of music director at Cardinal Newman High School. He has also held positions as the Jazz Guitar and Improvisation at the University of California at Berkeley’s Young Musician’s Program and guitar at his Berklee alma mater during summers.

He has performd with Joshua Redman, Jim Black, Ken Vandermark, the Either Orchestra, the Charlie Kolhase Quintet, organ Trio Be-3, Matt Wilson, Richie Cole’s Alto Madness Orchestra, Dam East, Scott Amendola, among others.

Guitarist and composer of new jazz and electronic ambient music Morris Acevedo, who has twice received a Certificate of Appreciation for Outstanding Service to Jazz, continues to perform, compose and educate.

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Requisites

Night Work ~ Sonny Stitt And The Giants | By Eddie Carter 

As a teenager growing up in the late sixties and early seventies, I was exposed to and enjoyed many different jazz saxophonists, thanks to my Mom and my uncles Ben, Bob, Emmanuel, and Mr. Leo Mintz. Sonny Stitt has always been one of my favorites. He enters this morning’s spotlight with Night Work (Black Lion Records BLP 30154) by Sonny Stitt and The Giants. It was initially recorded in 1967 but not released until 1974. Sonny Stitt is featured on alto sax (A1, A2, B1, B4), and the other giants are Howard McGhee (tracks: A1, A2, B3, B4) on trumpet, Walter Bishop Jr. on piano, Tommy Potter on bass, and Kenny Clarke on drums. My copy is the U.S. Stereo release (Black Lion BL-307).

The opener, Night Work by Howard McGhee, is an upbeat invitation to sit back, relax and ride the rhythm of the ensemble’s swift melody into Sonny’s opening solo. Howard has the next spot and delivers the goods with considerable agility, followed by Walter’s impeccably delivered reading. Howard and Sonny join forces to exchange a few ideas together before Kenny joins their conversation, leading to the reprise and ending. Matter Horns by the team of Eiger and Jungfrau slows the pace to mid-tempo for Stitt’s easygoing theme and relaxing opening statement. Howard comes in next with a pleasantly flowing solo. Walter continues the bluesy groove in the third reading. Tommy and Kenny add a great deal of pleasure to the next two interpretations ahead of the quintet, trading a few riffs together before the climax.

The second side starts with a gorgeous quartet rendition of Loverman by Jimmy Davis, Roger Ramirez, and Jimmy Sherman. It is a beautiful jazz standard that Sonny and the rhythm section begin with their exquisite melody. Sonny captures the standard’s delicacy and tenderness in the song’s lone interpretation preceding the foursome’s elegant conclusion. Both horns take a break for the rhythm section’s lovely version of Satin Doll by Duke Ellington, Billy Strayhorn, and Johnny Mercer. Walter shows a great deal of respect to Duke as he leads the trio through the introduction and melody. He continues making a personal impression on the song’s solo while Tommy and Kenny provide the support ahead of the theme’s restatement and close.

Howard steps into the spotlight with the rhythm section for Don’t Blame Me by Jimmy McHugh and Dorothy Fields. The trumpeter’s piercing tone penetrates the introduction before settling down for a pretty melody. Howard has an exceptionally fine spot as the song’s only soloist, complemented by the trio’s accompaniment culminating in a tender finale. Hello by Howard McGhee brings the album to a close and this song will remind listeners of Milt Jackson’s Bags’ Groove. McGhee’s muted trumpet shares the duties with Stitt during the melody. McGhee steps up first with an excellent muted solo. Bishop gets something cooking in the second statement, and then Stitt takes the spotlight next. Clarke gets the last word in an exchange with both horns ahead of the theme’s reprise and ending.

Alan Bates produced Night Work, and Helmuth Kolbe was behind the dials of the recording. The album’s sound quality is quite good with a solid soundstage that transports the listener to the studio as the musicians are playing. Sonny Stitt was one of the best jazz saxophonists, with a career lasting nearly four decades and a recorded discography of over one hundred albums. He was also proficient on the tenor sax and baritone sax. This is one of his best records, in my opinion, and if you are in the mood for a great sax album, I invite you to check out Night Work by Sonny Stitt and The Giants on your next record-shopping trip. If you’re looking to start a collection of his music, it’s worth seeking out for your library and a title I’m sure you’ll enjoy!

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